Play Quotes - Page 240

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Perhaps I am too tame, too domestic a magician. But how does one work up a little madness? I meet with mad people every day in the street, but I never thought before to wonder how they got mad. Perhaps I should go wandering on lonely moors and barren shores. That is always a popular place for lunatics - in novels and plays at any rate. Perhaps wild England will make me mad.

Look at Satan's reason for rebelling against God. It's not that he doesn't recognize that God is greater than he is. He does. It's just that he doesn't want to play by anybody else's rules. This idea that it is better to reign in hell than to serve in heaven is Satan's motto, and it turns out that this is also the motto of contemporary atheists such as Christopher Hitchens.

I suspect that religion is a necessary evil in the childhood of our particular species. And that's one of the interesting things about contact with other intelligences: we could see what role, if any, religion plays in their development. I think that religion may be some random by-product of mammalian reproduction. If that's true, would non-mammalian aliens have a religion?

Through private investment capitalism kept raising the productivity of labor to new heights. Parents were able to earn enough so their offspring did not have to join the work force at an early age. This produced something unique in history: Childhood, a time when the young could experience the innocence of play and opportunity of schooling before entering the world of work.

It needs great art, learning to play with one's own life, to play on one's own life. Meditation is the art to create music from your heart. Meditation is simply the method to transform noise into harmony, the method to shift your consciousness from the head to the heart. The head is noisy, it is all noise - a tale told by an idiot, full of fury and noise, signifying nothing.

Even though I want to expand the number of ways in which skilful ironic play happens, I suspect I'm probably guilty of the same shortcoming - and I hope that, one of these days, someone will claim that my book, while it goes in a salutary expansive direction, doesn't go far enough, that there are assumptions I make that show I've missed aspects of Mann's irony and ambiguity.

When the author walks on the stage the play is over. God is going to invade, all right...something so beautiful to some of us and so terrible to others that none of us will have any choice left? For this time it will be God without disguise...it will be too late then to choose your side. There is no use saying you choose to lie down when it has become impossible to stand up.

We're charlatans in a way, we're magic people. Part of the behind the scenes stuff is to loosen you up, to make you feel that you are experiencing this. This is my style, I did it in Looking for Richard, too. And I figure, if I can weave it into the actual play and get the audience interested, like the robes going up and down, they'll pay attention long enough to consume it.

People sometimes say, "Isn't it boring, isn't it always the same? It's the same lines." I go, "Well, do you play tennis? Because that's the best analogy I can give." If you go out eight times and play tennis eight times this week, yeah it's the same rules but it's a different game every time you're out on that court.And that's the best analogy I can come up with the theater.

The thing you realize as you get older and you play, that you don't really understand when you're a backup the first few offseasons, how important that mental rest is. It's a grind physically during the season, dealing with the hits and the physical pain that goes with playing in this game. But mentally it's probably more taxing, so you need that ability to find that escape.

But for me, you also have to be conscious of what is going to play. And that includes playing with. Sometimes it's just a vibe. It's what's going to make this scene work. And sometimes there may be something that restricts you that has to do with something that maybe is historically accurate. And then you have to weigh that decision and give up something for a scene to work.

It seems like I always had to work harder than other people. Those nights when everybody else is asleep, and you sit in your room trying to play scales. I just wonder where I was when the talent was being given out, like George Benson, Kenny Burrell, Eric Clapton ... oh, there's many more! I wouldn't want to be like them, you understand, but I'd like to be equal, if you will.

I have never stopped performing live.I've been blessed with the talent to sing and play the piano so I can fit into a lot of different configurations and venues. I play public and private performances and it has served me well. And I've been fortunate to work in Europe and Asia as well as The US. So for those who have not attended my shows, it doesn't mean I'm not performing.

Human paint, produce films and videos; they dance, dream and make music; they engage in political action, exchange goods, perform rituals, build houses start wars, act in plays, try to please patrons- and so on... They contain patterns, press the practitioners to "conform" and in this way mold their thought, their perception, their actions, and their discriminative abilities.

Quite low down in the list is "How much am I going to be paid?"... my main feeling about money is that I don`t want to feel as though I`m being taken advantage of... The other actors they asked to play Gandalf wouldn`t go to New Zealand on that money for that length of time. I thought it would be a bit of an adventure... I`m an eccentric actor, and there`s a lot of us around.

I don't have much to compare it to because I really didn't know much about theater. After I signed on, I started reading a lot of Sam Shepard plays just to brush up on my history and do some research. What's great is that Sam's been here and he's been in rehearsals with us. Sometimes you don't even notice him come in; he's just sitting there in the theater seats watching you.

In this case, I don't know why they [Seth Rogen and Evan Goldberg] thought I would be a good lavash wrap or I would do a good Middle Eastern accent. They just assumed I would. They called one day, and they're like, "They're doing this read-through for Sausage Party, and you're going to play a lavash wrap in it." After I looked up what a lavash wrap was, I was like, "Oh, cool."

Like any classic you hope to get rid of all the varnish that's built up over the centuries where people expect it to be in a certain way. It's a mighty play. It's about a very old king who also happens to be a very old father, so you've got the state and the domestic levels in there together. It's a story in extremis. Everyone knows the end, there's only two people left alive.

I understand how much everyone wanted to see a British winner at Wimbledon and I hope everyone enjoyed it. I worked so hard in that last game. It's the hardest few points I've had to play in my life. I don't know how I came through the final three points... that last game ... my head was kind of everywhere. That last game will be the toughest game I'll play in my career, ever.

Painting is... a correspondence between what you are and what you see. It's a moment when something is holding together in such a way that it is a universe in itself... Within this is a test and also a judgment upon yourself, your capabilities, your promises, and the part that you play in the world. And nobody else can test that for you. Certainly not the Museum of Modern Art.

If Id lived prior to the 1980s, it would have been different, because I would have been playing to prove African Americans are equal. Now, I dont necessarily feel I have to play for black people, because obviously theyre doing everything in all sports. If I can go out there and play for myself and not feel I have to stand for something other than what I want to do, thats good.

here are problems with the Turkish products inside Russia and the tourism going down. People are worried about that. But the really big economic weapons, oil and especially natural gas, those have not been brought into play yet - mostly in the form of threat so far. So basically the view from here is that, yeah, things are getting bad, but they could still get much, much worse.

I want a future where women and girls get to be the subject of their own sexuality, not the object of somebody else’s. That we are the main characters in our own play, not props in somebody else’s—which is how women’s sexuality is treated now. Whatever the outside attitudes about sexuality it’s always about somebody’s agenda for us, and I want a world where we can have our own.

Until we get to the point where we've had enough of things that hurt and long more than anything for a peaceful love, we are bound to take painful roads. We are destined to play out our frivolous disasters until we declare ourselves finished and done with them. How much pain do we have to suffer before we are sure we want no more? As much, it seems, as we have to until we don't.

My new apartment might be a place where there are lots of children. They might gather on my porch to play, and when I step out for groceries, they will ask me, "Hi, do you have any kids?" and then, "Why not, don't you like kids?" "I like kids," I will explain. "I like kids very much." And when I almost run over them with my car, in my driveway, I will feel many different things.

I'm very glad my mother didn't let me quit piano lessons at age 10. She said I wasn't old enough or good enough to make that decision, and she was right. I remember at the time I was shocked. I did not like that my mother said those things to me. But when I got a chance to play with Yo-Yo Ma or more recently with Aretha Franklin, I thought, I'm really glad she said what she did.

But you have friends. You have a lot of friends. What do you offer your friends to make them so supportave. What do you offer your friends to make them so supportave what do you offer. " ...if I could remember any more of my lines I'd add them so basically this is a preface to the whole play. I would like to quote the whole play. Currently my mind is afraid to remember the play.

You may be perfect in playing the piano, and not be creative; you may play the piano most brilliantly, and not be a musician. You may be able to handle color, to put paint on canvas most cleverly, and not be a creative painter. You may create a face, an image out of a stone, because you have learned the technique, and not be a master creator. Creation comes first, not technique.

Well you always want to play against the best. That's what you're going to get in the Super Bowl. To go against guys like Peyton Manning and Tom Brady who I have tons of respect for; I watch their games, I study their games, I try to learn from them. It gets you excited, but hopefully not too excited. Just focus on the game. Then when my career is done then I can look back at it.

Our brain comes hard-wired with an urge to play, one that hurls us into sociability. A child's play both demands and creates its own safe space, one in which she can confront threats, fears, and dangers, but always come through whole. Play offers a child a natural way to manage feared separations or abandonment, rendering them instead opportunities for mastery and self-discovery.

I think it's OK to play to your strengths, and if I have a quality of Englishness that people like, I won't hide that. I'm probably not going to play a junkie and that's OK because there are other people who will do it better. A view that's been held for a long time is that the best way to prove oneself as an actor is to play the grittiest roles out there. I don't agree with that.

in the place I am from ... a grave is topped off with a huge mound of loose earth - carelessly, as if piled up in child's play, not serious at all - because death is just another way of being, and the dead will not stay put, and sometimes the actions of the dead are more significant, more profound, than their actions in life, and no structure of concrete or stone can contain them.

In a way, watching an attractive, potentially dangerous guy play guitar is a little like watching a tiger agree to do tricks for his trainer. You know that they could just turn and kill you. But you're so flattered and pleased that instead they agreed to stand on a decorative box and wave and count for the crowd that for a while you forget how big the scary part of them really is.

Basically, every band that makes it has some dude with some sense of business. I don't know if our band would've been so successful were it not for Daniel's [Kessler] insight into how things really work. Daniel was the one who was diligently saying, "We should make a demo, send it out, play shows but not too many shows, get on shows with touring bands that are coming to New York."

Stage charm guarantees in advance an actor's hold on the audience, it helps him to carry over to large numbers of people his creative purposes. It enhances his roles and his art. Yet it is of utmost importance that he use this precious gift with prudence, wisdom, and modesty. It is a great shame when he does not realize this and goes on to exploit, to play on his ability to charm.

I'm really terrible at math, so I won't even attempt to do ratios and percentages, but all I know is that there's a lot of new songs that no-one has heard yet, and that there's a lot of old songs that some very, very super hardcore fans have heard for sure - there are people that have been coming and seeing me play in bars in like 2002, and there are songs that those people heard.

To live in the universe of high modernity is to live in an environment of chance and risk, the ineveitable concomitants of a system geared to the domination of nature and the reflexive making of history. Fate and destiny have no formal part to play in such a system, which operates (as a matter of principle) via what I shall call open human control of the natural and social worlds.

When I grew up, feminism wasn’t something that was really talked about. There’s a really negative stereotype about feminism in the media. That really plays badly for young women understanding the movement. Maybe people don’t want to identify themselves as feminists because of the label. But people need to understand what feminism means and educate themselves before they reject it.

Friends serve central functions for children that parents do not, and they play a critical role in shaping children's social skills and their sense of identity. . . . The difference between a child with close friendships and a child who wants to make friends but is unable to can be the difference between a child who is happy and a child who is distressed in one large area of life.

But, she knew, you didn’t have to marry your soulmate, and you didn’t even have to marry an Interesting. You didn’t always need to be the dazzler, the firecracker, the one who cracked everyone up, or made everyone want to sleep with you, or be the one who wrote and starred in the play that got the standing ovation. You could cease to be obsessed with the idea of being interesting.

I'm not beholden to the public, and neither are the public beholden to me or my songs. I'm very much of a populist on those terms, I believe that the song is no longer mine anyway. I like to process the dispossession that happens when you play something live. I don't have a clue as to how these songs are going to plan out, whether they're going to be on a record. I don't know yet.

Doing the right thing is important, which is where strategy comes in. But doing that thing well—execution—is what sets companies apart. After all, every football play is designed to go for a huge gain. The reason it doesn’t is because of execution—people drop balls, miss blocks, go to the wrong place, and so forth. So, success depends on execution—on the ability to get things done.

I think everything about it. Just the experience, but mainly performing live for people. I think if it wasn't for playing in front of audiences, I don't think that anyone would want to play music. That's where you get all your gratification. It's just something else to be up on stage, playing music that you wrote and having people enjoy it - and have it mean something to them also.

Edward can do everything, right?" I explained. Jasper snickered and Esme gave Edward a reproving look. "I hope you haven't been showing off-it's rude," she scolded. "Just a bit," he laughed freely. "He's been too modest actually," I corrected. "Well, play for her," Esme encouraged. "You just said showing off was rude," he objected. "There are exceptions to every rule," she replied.

The facts of nature cannot in the long run be violated. Penetrating and seeping through everything like water, they will undermine any system that fails to take account of them, and sooner or later they will bring about its downfall. But an authority wise enough in its statesmanship to give sufficient free play to nature - of which spirit is a part - need fear no premature decline.

I can't judge the characters I play, because it's for the audience to do. What I can try to do is to understand and embody what were they going through? How did they make the decisions they made? That to me is a more interesting way to approach something, rather than saying this person is a villain and that person is this and - because it's not very interesting to play that anyway.

We [with Brandy Burre ] like fifteen feet away from each other. You can see my house and my car in pretty much every exterior shot in the movie. It was like filming at my extended house. My kids and her kids are the same age and they're best friends. Every summer they play with each other. We were intensely close friends beforehand in part because we take care of each other's kids.

Doubt requires more courage than conviction does, and more energy; because conviction is a resting place and doubt is infinite – it is a passionate exercise. You may come out of my play uncertain. You may want to be sure. Look down on that feeling. We’ve got to learn to live with a full measure of uncertainty. There is no last word. That’s the silence under the chatter of our time.

I certainly play people on the edge quite a lot. I am interested in what makes people odd and what makes them different. In life I try to play the edges. I have a horror of the herd. There are many, many different sorts of people. A lot of people are fairly uninteresting. I want to play the interesting ones. The villains are always more interesting to portray. Shakespeare knew that.

Sadomasochism is an institutionalized celebration of dominant/subordinate relationships. And, it prepares us either to accept subordination or to enforce dominance. Even in play, to affirm that the exertion of power over powerlessness is erotic, is empowering, is to set the emotional and social stage for the continuation of that relationship, politically, socially, and economically.

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